Today, because photography exercises such a profound influence upon the study of art, we tend to disregard the way in which prints continue to function as information.
- Edward Lucie-Smith - from the catalogue introduction to the Fourth British International Print Biennale, 1974
[cited in: Creative Camera January 1975, p. 4]

The true power of the photograph does not lie in the camera’s ability to extract a completely organized image from circumambient events. Such images can be made, but either they have the character of happy flukes, or else they tend to suffer from a stifling lack of spontaneity. What the camera does is simply to halt the flow of time at a chosen moment. If these moments are well picked, they take on an emblematic significance. In particular, the camera responds with perfect obedience to the subconscious mind of the man who uses it, and brings any obsessional element in the personality of the photographer to the surface, whether he intends this or not. This is why certain photographers deal with one category of subject-matter supremely well, while producing hum-drum work on all other occasions.
- Edward Lucie-Smith - The Invented Eye, 1975
[cited in: Creative Camera October 1975, p. 329] , The Invented Eye : Masterpieces of Photography, 1839-1914 by Edward. Lucie-Smith , ISBN: 0846700409

The camera is the instrument that brings the inner passion and the outward event into harmony with one another, this linking, or, rather, this coincidence, is successfully brought about, then we find one of the things that no image-making medium can accomplish to the same degree.
- Edward Lucie-Smith - The Invented Eye, 1975 [cited in: Creative Camera October 1975, p. 329] , The Invented Eye : Masterpieces of Photography, 1839-1914 by Edward. Lucie-Smith , ISBN: 0846700409